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U@UUF^I8^I8_I8_I8`F8aF8h @h h h oFoloLoIoioipf @pppLpippqfqqLqiqqrFs Ct yy{I8|I8}I8~F8  d@ `` D0 ^ 0 CE 1:15.62Play near the bridge............................. Mute bassesUnmute bassesCE min@` D min7@`' G@P@`TC Maj7A minD min11G13@@C Maj7@A min7yy(zA min6D minG13dA7D minG7A7 (Bluesy)D min  G9G7E7+5A9D9+5Bb13Ab137(F Maj7C6/9 +11#Gonna Get Along Without Ya Now Mm-hum, mm-hum, gonna get along without you now Mm-hum, my honey, mm-hum, my honey Gonna get along without you now You told me I was the neatest thing You even asked me to wear your ring Then you ran around with every girl in town You never cared if it got me down Mm-hum, mm-hum, gonna get along without you now Mm-hum, my honey, mm-hum, my honey Gonna get along without you now Got along without you before I met you Gonna get along without you now Gonna find somebody who's twice as cute 'Cause I didn't like you anyhow You told everybody that we were friends But this is where our friendship ends All of a sudden you changed your tune You haven't been around since way last June Mn-hum, mm-hum, gonna get along without you now Got along without you before I met you Gonna get along without you now So long, my honey Goodbye, my dear Gonna get along without you now ============================================== This is one of those tunes that sticks like peanut butter in a dog's mouth. Catchy melody, catchy lyrics, upbeat optimism with the innocence of youth. This tune was recorded in 1956 by Prudence and Patience McIntyre, sisters at the ripe old ages of 11 and 14 (although I'm not sure which was which!) Chet Atkins recorded this tune on his RCA album "Solo Flights" using an amplified nylon strung (Spanish) guitar. There was an absolute minimum of sidemen on the recording. I don't have the recording notes, but by listening I could only make out Chet, a very soft and subtle rhythm guitarist, a vibraphonist that plays a total of about 10 notes, and Chet's foot keeping time. In comparison with Chet's other tunes, this one is pretty straight forward and the major difficulty is the speed at which Chet picks it. In TablEdit, go to Options from the File Menu and select "Multitrack" from the General page to see all of the parts, especially the chord diagrams and timing module. The Rhythm guitar is very low key and difficult to hear. So I arranged that part rather than trying to transcribe it. The vibe part was added tongue in cheek. It's so small, but gives a nice touch in the recording. Measure 4: Note that Chet changes his sycopation from "ragged 8's" to "Not So Ragged 8's". He does this through the tune where there are 4 or 5 8th notes in a row. Measure 4: Note the bass notes that Chet plays with this D min7 chord. It's a bass line that is a little unusual for Chet. Measure 17: This was a difficult measure to decypher. I'm pretty sure Chet is playing the notes on the 6th string with his thumb. That allows him to hammer on the 1st fret of the fourth string, then slide into the E on the 2nd fret, while holding the A on the 3rd string with the 3rd finger. If this is too difficult, substitute Chet's variation from the 73rd measure. Measure 31: This bluesy A7 is played by holding an A min7 chord with the 1st finger of the left hand on the C on the 1st fret of the 2nd string. Then hammer on with the 3rd finger on the 2nd fret on that string. Measure 32: I spent quite a bit of time listening to this measure and trying to find a bass note for the 2nd beat. It just isn't there. Note that Chet plays beats 3 and 4 very staccato. Measure 35: Chet does a "pull-off-hammer-on" to spice up this A min chord. Listen to Classical Gas for a similar lick. Measure 50: After letting the basses ring, Chet mutes the basses for this little bridge. It gives a nice contrast. Measures 56 and 57: Here Chet is getting a E7-A7-D7-G7 chord progression by moving a "13" chord form down a fret at a time, while playing a standard bass line. This chord form is a favorite of Chet's. Measure 63: Chet substitutes a Bb13 chord for the E minor. This is a common jazz technique where one substitutes a chord that is a b5(or #4) away. Explaining why this works is a lot more complicated than just doing it. Measure 64: An Ab13 for the D minor, for the same reasons as in Measure 63. Note that Chet subs a G13 for the G7 on beats 3 and 4. Measure 90 (ending): Strange chord. The notes actually make a D7 chord with the 7th (C) in the bass. This is a very common chord form for Merle Travis as a dominant 7th, but never as an ending. The C bass sets a C tonality and the other notes. It plays a lot easier than it names! Measure 91: Note that on the recording Chet doesn't play the final high C note, but rather the Vibe player does. I added it for the player that is going to be playing this as a solo tune or doesn't have a vibe player to help out. cw %).38Guitar Standardc %).38Timing/Chordsr c  %).38Rhythm Guitardc  %).38Vibes Guitardcs %).38Chet's Footrd